(navigation image)
Home American Libraries | Canadian Libraries | Universal Library | Community Texts | Project Gutenberg | Children's Library | Biodiversity Heritage Library | Additional Collections
Search: Advanced Search
Anonymous User (login or join us)
Upload
See other formats

Full text of "2 passacaglias"

^ 







rM! 



• : 




■■ » ■ '■» * 



■' ■ » wii 



rb 



^^.mm 



3* 




GARDNER FUND 

IN MEMORY OF BENJAMIN JOHNSON LANG 



FN74!; S.JI; 500 



SYMPHONY CONCERT 



SCOTT'S 



MUSIC IN 
VOICE 



UNFAMILIAR 



His Two Passacaghas for Orchestra Works 
of Imagination and Power — The Faded 
Wagner of "A Faust Overture"— The 
Fresh Dvorak of a Redirected Sym- 
phony— Mme. Lashanska, Cool and Crys- 
talline Singer 

"\ T«S-rt «,c v t ^C- <fa<v M.'?>l 

A TRANQUIL. Symphony Concert 'ran 
agreeable course at Symphony 
Hall afternoon, and 

\- naught disturbed peace and pleas- 
ure unless It was the two I' 
of f Cyril Scott . Prolttlc In sonca, i 
pieces and the "smaller forms" generally, 
he hai wi Itten refativi ly little for oi 
Ira in hie riper y< >n< erto for 

i, a aettlng of K< ita'a ballad, '*] i 
" possibl: 
music-drama with which gossip credit! 
him, and the two troublesome Passat, 
and Iho Piano-<"on< >erto he bn 
with him "a his present visit 10 the fJ 

The Concerto requires the pres- 
ence of the composer ".it the piano"; tho 
powers at Symphony Mall preferred that 
ho should occupy the "guest-seats" and 
as "the author of their being." acknowl- 
edge the applause tho persistent Pa 
cagllas won. Not only did the audience 
iho composer's music; it also looked 
upon him; and a pleasure of the lectuxc- 
room became a pleasure of the conrert- 

hail 

In more senses than one, persistent is 

the word for tho two pieces. True modcrn- 

i ts the chosen 

Is to say, he preserves "the subject" 

Passacaglla as falthfu ly ay 

though ho were writing in tne eighteenth. 

id of the twentieth century 
folk-piece — a sombre, moi 

rat; another folk- 
1 he Poor Irish 

ylhro.j 
ond. In neither 
clew to these basic meae- 
Indeed, Mr. Scott drives home the 
dancing-tune by every rhythmic, harmonic, 
mental device within his power. They 
ii chosen "subjects"; the lament of 
Famine Song" pierces tho ear, 
tho memory; tho (lance ;s SO gay B 
aid so adaptable to "development" 
that only by inadvertence could Mr. 
Grainger have overlooked It. The varia- 
tion of these persistent "subji ts" that 
the making of a Passacaglla presi 
lOther thing. Rather, as Mr. 
. it is ingenious and often |ma 
manipulation. Ho leads fragment" 
„( his Irish tunes leas from i. 
than through quickly passing tonal 

,., . pril rastt thi harmonic 

and instrumental dress, the rhythmi- ac- 

mpreguates measure after meas- 

vlth liis own fervent >ds, Time 

,., mcken Into vivid harraon • 

o catch In 

oncert-hall, sometimes more graphic 

,,ii the paper of the score. Aa often 

play .of timbres Hashes out oi 
multitudinous on h< stra, lacking 01 
shawm and a second sackbut. 

turn Mr Scott compasses va* 
ol voice; nowhere does tho fabric 
lias sag or dim; while over 
taoB beneath, Is deep, 
on from the be 
orgjl a d, bj imagination as ■-■■ 11 

on, Tho first r ca I 
from dark i . through varl i- 

dual lament, to a massed 
lournlng tha 
i d. Tho aei i H' I 
folk-dance, 

sophistical while, 

I with higher and higher 

nk ii 

. . i ' en ; ih." trip 
thai are a 
ilo e; tho work o 

■ 



atended by songful horns and 

Ii 

mi. III." 

I iiotn— 
'ehrom ud the like. Watch the 

o the 
M< i'i'. a with which 

Liszt i Synv 

ohony" i oru • 1th blue B 

r of "Trl 
'mi "Thi Rlni " thai was to be, b 

No doul 
proved romantic formula i foi 

natti i in tones— hut how far froi 

graphic • n< rgl ■ i u,, z . tin- ] u -. n 

troJ i a ..r LlBxt, .v.i doubt Bkllful ma- 

tlon ol .i I rmal ovei ur< to d 

tlvo ■ nds; bul the Web 

mi," * " i : 1 1 ■ 
keeps the process fresh and . while 

lust stri •■ ' i: ite Faus Phi 

unqui nchable R agn'e > red lhat 

.Mr. MonteUX was at : he did i" I 

animate and glamor the overburc as he 
did tii" fantastic Symphonj ol Berlioz a 
year ago as Dr. Muok uaed to do with 
h ■ i one-po ma of Liazt Thi 

1 ; " i ii nch say; bu| what cf <-. 

Wagner lhat cannol kei p hi reel 

Ltlful performance? 

1 '" the ol hi i hand a proud aften n fo* 

i Id Dvorak, the despised and for- 
saken "i every truly modern repertory, a 
afternoon f"r all within ear-shot of 
ymphony in D minor, timely resur- 
repti 'I bj Mr Monteux. it. has no! 
wrung out to the i u i thin drop, like tb. it 
sop of conductors fo audlon • . the Sym 
phony, "From the New World " 

■ depi ipi u] on rad he; pati hy i 
ties llki i lures— "Hu iltzk i," 

vat," ''Othello"— to I • occasional 

it. rn fact. 1 hi 
no mor/i than Dvorak "warbling 111 Ltlvi 
notes wild"— or rather m 'Id— in h a 
prime therewith and pleasant to hi ,, n 
the process. Once he la clear of a "scho . 
I arty" and so for h.m rather labored begn- 
nlng of the slow movement, the melody 

in outline, subst m< ■ ■. pi 

the color the wind-choir lends to it— a wist. 

ful, s mple hearted, yet by no means un« 

By Instinct, maybe. 

ut he contrive* also to bo 

"l.|i In the singing. Bright are tho con- 

Ing rhythms of tho Scherzo. Ho has 

caught them glinting from the folk. Sron. 

ly he writes. There is 

plentiful symphonic flourish in the Finale 

and it docs nowadays sound, empty. Thero 

lso measures still warm with the 

strangeness and the glow that Is romantic 

Illusion. Not for nothing was Dvor 

Czech who could dream (is well write 

music. Agreed that In the first movement 

ho Is no more than following the formulas 

sonorously; but even there the Instinct foi 
the finely set harmony, the warm tint In 
the instrumental voi-v-s. will out. Of 
• Dvorak was natural rather than 
sophisticated composer. Therein is hii 
I ' lion; therebj h a mon Bpontanoou 
nnocerit music, like fhls Symphony in i 1 
minor, keeps vitality, gives pleasure after 
forty years, it waa not until he took 
i night of the world and wrote "Nc.v 
d ' symphonies that he labor d and 
ti rday, too, the wood. wind 
cliolr "i our orchestra would have rejoiced 
him. _ 



:)r ( time in 
loi ion, Mme. Hujda i as hanskja s 1 1 
ihastely longing air of Pamlno fron 

i ho Magic Flute"; the sen- 
aii.i rhapsodic aollloqup <fl 
from Charpenlicr'a like-named 
drama- She is of cool and comely presence 
—a Galatea, so to say, of the concert-hall. 
-.us a cool, clear soprano voice, 
smooth, rounded, crystalline. As the pol- 
ished, transparent, glassy sphere In which 
hi "gazer" Ls about to read tho future, 
I holds the eye. :•> do Mme. Lashanska'a 
J tones engage the eai» She sings with a 
cool and studious skill— the note 
shaped, -the phrase- W' >: I, th< period 

curved and cumulated. Careful Is she 
in the mating of text and ion- -' . 

with orchestra. n\eitta1 note of 

[he mood, the scntlaient of the music and 
would discreetly conv< 

Of such resource and mettle, Mme, Las. 

Jianska sang Mozart's ah io that the du'i- 

bearer porce ved the flowing beauty oi 




""'. J'"'" S lU c noW ! , " : ''-" : n ,'"'" tins, the charm of phrase unfolding into 
Scott do it In these ^ r ' s , 

and lc nidi 

I . the gen 

The loveliness, i hi 

' ■ IV I ■iM, M ill A|o . _, 

plano-plcces— the her to.ie-s. A , 
onata rom his songs, ii ftl ,,] r,-,,- i 

u labi I M tnlfold Mozart 

in theso Passacaglla.s, as In learn one sing i o 
the Quintet for strings, he .Mme. Sembrlch I 
i-r Imagination and power. 'kartcan eehnlqu The rJ 

dy from "Lou rent ck map 

Lfternoon, two fmannor, mo i of tho singers 

contrastingly belled antlcl- 'tones falthfu' I Charpent.er's 

"'- often 1 " Lges; but no ipnauous warmth, no 

"' eturn to the ■ rg.ow of amorous . ,„■, wild glint of 

When It does rnosi of us wll , it, lioughtfully Mme. 

-I "in head motogue— 

happy in her home" and taking te.i 
p- , .1.-." 

""" ' I **!W H T PAJKr.rt 

rime. ii,.' truth 
i II Boundi .lay as a faded, 

ntlquated roms i i ieai thi d 

ome beginning— Fausl self-tortured, grop- 
I In tonee by a w 
■-• early forties lagged In Buch things' 
.'ar behind Liszt and B. ■■ 



Digitized by the Internet Archive 

in 2013 



http://archive.org/details/2passacaglias00scot 



CYRIL SCOTT 



2 



PASSACAGLIAS 



MAINZ 



B. SCHOTT'S SOHNE 

C 



Orchesterbeserzung : 



4 Floten 

<4. nimmt audi Piccolo) 

3 Oboen 
Engl. Horn 

4 Clarinetten in B 
Bass^Clarinette in B 
4 Fagotte 
Contrafagott 

6 Horner in F 
4 Trompeten in C 
3 Posaunen 



Tuba 
Pauken 

Tambourin, Becken, grosse 
Trommel und Tamtam 

Triangel und klefnc Trommel 

Xylophon und Glockenspiel 

Celesta 



Orgel 
Piano 
2 Harfen 
Streichquintett 

CI 



PASSACAGLIA 



No. 1 



CYRIL SCOTT 



Sill e o re ttc /?//<* l/'-ere ■ 




j7//egret(o J7//c* brere 



j j 



COi SOrft- 



§M 



Mi 

y/o/.2. 

mi* 

<fe//. 



n 



m 



^3t 



C prfffrd. . 



mm 



cCn sorcL . 



f7jJ5" 



% 






/ 



/ 




JO 76$ 




P/cino 



S 



S 




*o7(>9 




Atfwf 



/ 



*0* 
2 



W 



m 




JO 76 J 



9. 



Pochissimo soster/vto 




a i Ui ['i i iiUji j jjijj'f ) ii i 1 i & 



71 



m 



j? 






t^mm 




P/'cir?.. 




//Of: 
/ 

M 

& 

?e/i 
S. 



Pochissimo sos/e/7csto 




j-Jr nrdsuto 



30 76 9 



ce Tempo 




farrO 



jTempo dfVmi3 




/ 



/ 



pOCO r/Jdr<£ 



Ternpopoco \j[j sostes? </tp 




J0769 



6- 







gm 



mm 



m^fr 



7/ano. 



■ r -f 



(*e/esli, 




m/2 

Vfota 

Cfetfo 




jo res 




T/'drro 




pH^H^i^ 



&m 



PP&S 



te/esia. 



m 



ftOTrf-f fliF 



m^^ m ^ 






& rr^ l ■ - - -- 



mm 



y/ef-3 

fob- 

Cff- 

R 



f f b f r 



H t l > 



P r t r 



Mi 



^ 



' V_r_^f r 



f^fj r 
tap! 









M 



^ 









«//» 



^^ 



.W\? 



*• 




don-feQX \ 









% 



m 



m 



(fefesb 



Mi 

//of- 2 
Yiola 
(fell- 

B 




J07G9 



(/on ■ spirt lo nj| 



Sa/eC/- 




(fon.Jta^ 



farfe 
2. 




I 



si 



^^ 



iH i^vA ivi^ jt 



^ 



P/JttfO 



/A 



fe§ 



i» 



fa^ 



fa* 



tti 



1*1 



£ 



^ 



f£ 



^ 



/• 
A7tf/- 

2. 

nob 

Cfe/f- 
B. 



con s<? ret. 



£on spirt 'to 



s mM 



mm 



sa 



Nf^ 



3fe 



^ 



I 



r 



^^ 



Pj^i 



r-M^m 



,i-' h n 



£=*S 



n^M j 




30769 




P'JUtO 




frol- 

1- 

r/of- 

h'olA 



dell- 




JO 76 9 




C/e/esU 



ftott. 



mid 



s 



■a 



'/ULrcC ■ 




30?f9 



&• //o/tosostenuto 




30769 




307b'9 



f9. 



r /t_ Vr<a n quif/o. mo/to 




i 4? - $&f 



Trpl 
irtC 



3f=W^ 



f.2. 
Posl 

J.Pos- 
Tufa 



w=f 



M 



fe& 



El 



9S 



f5 



PcXl/k- 



m 



etc 



r/t.- 



Tr#/7<po/J/o. mo /to 




J 01 6$ 



fndi. 

//Or. 



s. - Tern -\J]ft~f>o 



/6 




PferrO. 




JO 769 



jPi'H ■£> 



46- 



BaJl-0- 
MB- 




?e/esk. 



SO 769 



n 




(for. 
Tridn§. 



\U j_j 



PEP^e 



*4au. 



i <JJL j _l 



F@2 



ma 



m 



% 



Sfi 



I 



^^ 



s 



f "J7 



^ 



S3 



t cj r 



¥==Q= 



Pt'jrtO 



5*E 



V 



^ 



■f * 



f* 



f 



? 



f 



f 



#/><"& , 




k 



KM- 



//'of- 
2. 




I \LJ^ 



*<*_>-* IjHU*— * 



^^£f 



P^S 




c?/-r<? 



J0 76<) 



/*• 




7rpt 
Pos: 



PauH. 



con s or aC- 



fmdirCalfo 



m j" I 



f \}}>{i 



S/'m/'/e. 



f p ag 



§E 



y~/T7<*r'c<iJo 




ft f r f L^ f te a 



P&no. 




J07f$ 



/s? 



Poco sos/e/7(/fo- 




Triand 
etc: 



7 > /'<Ano 




k 



w^ mm^M 



f r tif f 



♦ > 



Poco sostenv to. 



y/oi* . 



Wot-& 



Kola- 



e'en. 




~Jf 



marc: 



Joy 6$ 



ct Tempo 

9 a \ •> > 




Jo 76 9 



£*{ rind err do 




w*9 



24- 



PASSACAGLIA 



No. 2 



CYRIL SCOTT 



Jfrrdrfrffe s-osrfp/7vto- 




//r7Ctd.r7te sostenuto- 



Pianos 




r/ato 



con sorot- 




X 



X 




30169 



95 








JW63 



MS- 




/ 



/ 




Jd?f9 



Poco sosterttfto 




Jo?Cf 



Poro sos/errv/o 




( i >Llp h ^ 



i § nf * ' 



q^fr~g 



B If g 



2T 




J*W 



$0. cZ Tempo 



J.TS SCfTT'fe^ 




3076$ 



— — 



inB. 




9076<j 



w. 




J07*S 




toys? 



hi. 




J 076 9 



Mi. 



35 




fr'o/d , 



J07f9 



Jt/.tfdTr- $<3rr - cto 




B. Schott's S5hne Mainz 



BOSTON PUBLIC LIBRARY 



3 9999 06385 118